If you want to revel in as much material about making “Pet Sematary” as is currently documented in film format, you really don’t need anything that “Unearthed and Untold” doesn’t have.
Watering down the title to “Hunting Grounds” makes strange sense because it speaks to how interchangeably tame the well-meaning movie is.
Imagine the pre-shower Marion Crane scenes of “Psycho” tinged with a touch of Tarantino pulp and you’re halfway to picturing the neo-noir story and style of “The Frontier.”
“This is how all bad horror movies start,” says one character early in the movie, approximately 20 minutes after you’ve already said it to yourself.
“The Snare” is such an odd blend of curious character study, inconsistent tempo, difficult themes, and Spartan aesthetics that no assessment can break it down for all audiences.
The film’s final edit waves a white flag of having been worn out from so much whittling, it surrenders with an exhausted, “let’s just be done with this.”
People going in blind are likely to be bewildered about how an alien invasion progresses from initial assault to Mad Max wasteland in less than 12 minutes.
Once the movie reaches act two, anything not serving a purpose of moving the A plot to the end credits is muddled in a mixture of ideas introduced and then sprayed away.
Based on the tip of the fraud iceberg outlined above, you don’t need an honest review to tell you “All Through the House” doesn't deserve attention.
Even if you dug a deep hole to bury your standards, you’d resurface on the other side of the planet and still not have gone far enough to accommodate these two movies.